


Norse Allusions in Isayama’s “Shingeki no Kyojin”

by hydrazoite



Category: Norse Religion & Lore, Shingeki no Kyojin | Attack on Titan
Genre: Analysis, Gen, Manga Spoilers, Meta, Spoilers
Language: English
Status: Completed
Published: 2014-04-28
Updated: 2014-04-28
Packaged: 2018-01-20 19:32:19
Rating: General Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 3,598
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/1522937
Author URL: https://archiveofourown.org/users/hydrazoite/pseuds/hydrazoite
Summary: <blockquote class="userstuff">
              <p>A paper I wrote for a university class - “Shingeki no Kyojin” written by Hajime Isayama draws extensive inspiration Nordic myth such as Snorri’s “Gylfaginning” and “Prose Edda,” creating integral elements and parallels within the story by incorporating fundamental Norse ideologies into the fictional universe’s framework. This paper seeks to fully develop these comparisons through a detailed analysis of “Shingeki no Kyojin” with direct references to the original Nordic myths, and to argue that these allusions are an integral part of the story that help to provide a deeper understanding of the world in which it is set. With the establishment of these comparisons regarding Norse traditions and themes, striking similarities regarding the environment, the characters, and the conflict can be explored.</p>
            </blockquote>





	Norse Allusions in Isayama’s “Shingeki no Kyojin”

  **The Narrative Importance of Norse Allusions in Isayama’s “Shingeki no Kyojin”**

      Narrative tales for centuries have, for centuries, been borrowing and re-constructing myths from previous generations in order to create new tales to amuse and inspire. Mythology has been incorporated into many stories to provide emphasis on major themes and create a more complex universe for the reader to experience. The visual novel **“** Shingeki no Kyojin” written by Hajime Isayama draws extensive inspiration Nordic myth such as Snorri’s “Gylfaginning” and “Prose Edda,” creating integral elements and parallels within the story by incorporating fundamental Norse ideologies into the fictional universe’s framework. It is these elements of intertextuality that create a context in which hermeneutic moments can be experienced, while expressing creativity through the literary tradition of interpretation through connotation. This paper seeks to fully develop these comparisons through a detailed analysis of “Shingeki no Kyojin” with direct references to the original Nordic myths, and to argue that these allusions are an integral part of the story that help to provide a deeper understanding of the world in which it is set. With the establishment of these comparisons regarding Norse traditions and themes, striking similarities regarding the environment, the characters, and the conflict can be explored.

      The universe that “Shingeki no Kyojin” is set in is centred directly around the location of the three walls: Maria, Rose, and Sina. The walls themselves take up a great deal of territory, spanning a total of 480 kilometres over an area rich in natural resources, as well as being home to several old-growth sequoia forests. Over the past 107 years, knowledge surrounding the world outside the walls has been prohibited, and only small amounts of knowledge are attainable from forbidden books that endured the original attack of the titans. These books speak of foreign lands containing “flaming water” or lava, “snowfields of sand,” or deserts, and “expanses of ice.” Ascertaining that these lands were distant even during a time of peace, it is logical to place the walls in central Europe, roughly centred around Germany as this area is not geographically located near any active volcanoes, deserts, or ice flows. It is this specification that rules out areas on nearby continents such as Africa, or an area in the United States. Germany’s sequoia forests and the nearby Swiss Alps support this placement, and the surrounding area is bordered by the North Sea. This Germanic and Scandinavian centred geography identifies directly with the mythic landscape that the Nordic mythology originated from. 

      In terms of a societal structure and its advancement in Isayama’s work, the walls seem to contain agricultural communities, with only certain areas that are specialized to the production of steel and iron. The architecture itself is distinctly European as well and many buildings feature German timber framing, as well as the design of abandoned castles. Although this type of architecture post-dates the specified historical time period of 400-1000 A.D during the time of the germanic migration and viking invasion, it does serve to place the setting of “Shingeki no Kyojin” firmly in a Germanic area. In addition to these societal parallels, the etymology of many of the main character’s surnames also is a crucial factor in identifying where this visual novel is actually set. The vast majority of names hold strong German resonances, such as “Kirschstein,” “Braus,” “Leonhardt,” and the quintessentially Germanic name of “Jaeger” for the protagonist. Other surnames include “Springer” which is notably Anglo-Saxon, and ultimately “Ymir,” a Norwegian name that undeniably holds connection to Nordic mythos. By establishing this Northern European setting for “Shingeki no Kyojin,” Isayama was able to subtly create a cultural environment appropriate for Nordic intertextuality.

      Several characters and tropes within the visual novel hold strong mythic resonances with mythic characters or races. The protagonist, Eren Jaeger, along with a few select others, has the capabilities of transforming himself into a titan. This is most notable during the battle at Trost, where Eren shifts into a brutal killing machine, hell-bent on destroying any other titans in the surrounding area. His bloodlust driven state is reminiscent to that of the berzerks described in Snorri’s Eddas. It is said in the “Ynglinga saga _”_ that these warriors “rushed forwards without armour, were as mad as dogs or wolves… and were strong as bears or wild bulls.” According to Snorri, these individuals possessed “powers of shapeshifting,” and in the midst of battle their “‘madness’ increas[ed] by tenfold the normal powers of the favoured soldiers.” These warriors are often said to assume animalistic qualities and “become immune to pain.” Eren’s titan form closely follows this description, demonstrating a fierce and uncontrollable brutality in combat that is described as “a physical manifestation of mankind’s anger.” Even when Eren is being effectively cannibalized by titans, and his physical form is almost completely torn apart, his determination takes him to the extents of ripping free from his attackers and mutilating several more titans before collapsing. Snorri’s account of berzerks is not singular in nature however, and Thórbiörn Hornklofi composed a skaldic poem “Haraldskvæði,” that refers to these characters as the “intrepid heroes” of the battlefield, which is easily applicable to Eren’s fearless determination while facing his enemies. This parallel between the protagonist’s character and the berzerks creates a deeper appreciation for the kind of power Eren’s shifting brings him, and on what basis it operates on.

      In “Shingeki no Kyojin” the character of Ymir is one surrounded with mystery and intrigue. In accordance to the Nordic creation myth “the earth was formed” from Ymir’s flesh. Ymir is regarded to be the “progenitor of the race of the giants,” and is therefore one of a kind. The character of Ymir developed by Isayama has the abilities to shift into a titan herself, although this in itself is not necessarily unique. In a bonus chapter of the visual novel, a character by the name of Ilse finds herself face to face with a titan, who, instead of eating her, begins to speak. This is the first and only recorded instance of a titan with the ability to talk, and it repeats the phrases“Ymir’s people” and “Ymir-sama” while bowing to Ilse. The japanese honorific “sama” is often used as a very respectful title, one given to a significantly higher rank than oneself, and as such indicates that the character of Ymir holds a great amount of importance. Ilse is able to have a momentary truce with the titan, and she questions why it can speak, it gives no coherent reply. When she begins to panic and begin to see the titan as it really is, it grows distraught and kills her. For this short time, Ilse was able to look beyond the titan’s physical appearance to connect to a fundamental hierarchy beyond the presumed brainless monster. Norse creation myths describe the world as being “formed from chaos,” following the theme of finding “inner reality behind outward appearance.” The creation of Isayama’s Ymir contains resonance to this, as she spent around 60 years trapped in her titan form, which she describes as being “a never-ending nightmare.” While the Ymir of Isayama’s creation may not have been responsible for the cosmogony of this fictional universe, these strong parallels between the two entities provide a hermeneutic moment for the reader. This allusion to the Norse creation god creates a vast wealth of possibility in regards to Ymir’s character, and ultimately is able to provide a sense of understanding to the audience. 

      Comparing the cosmology of the two narratives, several specific places that hold significance, or the same name occur. Utgard, in Nordic mythology, is considered to be the “giants’ stronghold,” and is the setting for many interactions between gods and giants. Isayama also has created an “Utgard” in his visual novel, and it is the stage for an important reveal regarding the character of Ymir. It is at the castle of Utgard that Ymir first transforms into a titan to protect her companions. Utgard is also the place where several of the other shifters reveal their double identities as shifters, ultimately creating the allusion to this idea of a stronghold for giants. In the broader scheme of things however, the physical walls of Maria, Rose, and Sina have strong textual ties to the actual world of Midgard itself. They are both the realm of humans that is protected from the titans by a wall build from the giants themselves. The Norse mythos details that “from [Ymir’s] brows the blithe gods made / Midgard for the songs of men.” This insinuation that the wall is an ironic protective creation for men is identical to the truth behind Isayama’s walls. Wall Maria is revealed to be composed of not simply rock, but of actual titans itself, creating the ultimate ironic shield against the onslaught of their own kind. According to the original poem, “[the æsir] made a stronghold around the earth on account of the enmity of the giants,” which has clear parallels to the last of mankind being safely confined within Wall Maria. This connotation establishes the walls in “Shingeki no Kyojin” as being both spiritually, mythologically and physically important, creating a sense of depth that would have otherwise been unavailable.

      Oaths were a sacred part of the Germanic culture, and any oaths that were taken held power over the fabric of existence, believing that words affected reality. Several of the most important characters in “Shingeki no Kyojin” swear oaths to themselves, oaths that act as their motivation and raison d’être. Eren Jaeger swears an oath upon the death of his mother that he will exterminate the titans from the world. This goal defines his character throughout the entire storyline, and acts as a failsafe against losing hope. It is an oath born from great love, and is not something that will never cease to define his character. Similarly, Eren’s adoptive sister Mikasa makes a promise to Eren’s mother, Carla, to always look out for him and keep him safe. In the same way as Eren, this motive guides her every action and in lieu of Carla Jaeger’s death she views herself as Eren’s sole protector. To add weight to Eren’s importance to her, he is the only family she has left, her own blood relatives having been killed at a young age. Eren saved her life when her parents were murdered by sex traffickers, and she feels that this is a debt she has not paid back. In addition to this, should Eren disappear from her life she would be ultimately alone in a familial sense, which is a concept she cannot bear. Some of the most important ideologies in “Shingeki no Kyojin” are developed through the use of oaths, thus being able to draw a deeper significance from the act of oath-taking allows the audience to appreciate each character on a deeper fundamental level by examining how intrinsically their words are tied to both themselves and their reality.

      Self-sacrifice to gain power is a common theme that runs through many of the tales in Snorri’s Eddas. Most notably is Odin’s quest to understand the mantic knowledge of the runes. In this journey he physically impales himself to Yggdrasil in order to gain this wisdom. The protagonist Eren Jaeger also goes through a similar situation of peril in order to access previously unknown sources of power that were available to him. By sacrificing himself to save his best friend, he finds himself trapped in the stomach of a titan missing two of his limbs. His oath to kill all of the titans, however, has not yet been fulfilled, and he is unable to give up, even in these dire circumstances. It is through the act of effectively giving his life in exchange for another’s that Eren is able to instinctively shift into his titan form for the first time. This act of selflessness ultimately allows him to effectively access the root code of his identity and transform it in order to save himself. His titan grants him significant power, but also gives him regenerative capabilities. His sacrifice allows himself to be metaphorically reborn as a titan shifter, one that has considerable strength and power and has the potential to turn the tides of the war against the titans. It is through this process of sacrifice that Eren is able to become humanity’s hope and offer the potential for salvation, despite embodying the very thing he so despises.  

      During the era of the Germanic Migration period there was a strong mixing of religious ideologies. The traditional Germanic and Scandinavian belief system underwent “exposure to foreign influences” As a result their previously pagan mythology began to shift to include Christian elements and there grew to be an overlapping between the two cultures. “Shingeki no Kyojin” also features a very important religious base known as the Wallists. They outwardly resemble a very Christian organization in both scripture and its method of organized ceremony and prayer. This religious sect has grown in popularity since the fall of Wall Maria, and they worship the three walls as venerated structures sent from God to protect humanity. It is revealed that the high priests of the Wall cult have effectively covered up the secret of the wall’s true form, disguising it with Christian-esque practices and ideologies. This outwardly Christian religious base is revealed, however, to be fundamentally pagan in nature, when it is discovered that the walls actually contain titans enclosed within them. This is a closely guarded secret, however, and the high priests are willing to undergo torture and death in order to keep the explanation of the walls a mystery. During the spread of Christianity into Europe, the Christian practice did not wish to portray pagan rituals in a “favourable light,” and undoubtedly the notion that the sacred walls that protect mankind from the titans are actually titans themselves would cause societal chaos as well as instilling a more permanent sense of fear into citizens. This mixing of these fundamentally different religions parallels itself to the shifting ideologies of the time, creating a plausible comparison regarding the religious changeover that was happening at the time. 

      One of the most crucial parallels regarding “Shingeki no Kyojin” and the traditional myths however, is the parallel between Isayama’s narrative cosmology and the Nordic apocalypse of Ragnarök. It is the iconic character of the Colossal Titan who begins the destruction of the “Shingeki no Kyojin” universe: a giant 60 metre tall, skinless titan that holds a strong likeness to Surt in both his appearance and actions. It is the poem _Völuspá_ in stanza 53 that most clearly describes the destruction and the appearance of Surt:

_ Surt travels from the south with the enemy of twigs _

_ The sun shines from the swords of the carrion-gods, _

_ Mountains resound, and ogresses roam, _

_ Humans tread the road to Hel, and the sky is riven. _

      The character of the Colossal Titan, or his human name of Bertholdt is the first to wage war on humanity by breaking down a section of Wall Maria in an act of attempted genocide. He is shown to have not only immense strength, but also the power of extreme heat and steam that effectively acts as defence against any potential attackers, human or titan. Surt is also described as travelling with “the enemy of twigs” which is interpreted to be fire, or a volcanic ability. Ragnarök is also described as featuring “men who forswore oaths and murders.” Bertholdt has betrayed his own race with the intent of genocide, and is responsible for thousands of deaths. He further betrays his inherent duty to his own kind by enlisting in the corps to fight against the titans as cover. His oaths to humanity are permanently fractured, and he has set himself on a self-sacrificial path much the same as Surt. Surt’s cosmological approach from the south also has significance however, and the area the wall that Bertholdt centers his attack on also lies due south on a map. It is said that this event of Ragnarök is both the “demise of the gods” but also the very cosmos that the mythology is founded upon. 

      The entire universe of “Shingeki no Kyojin” is destroying itself, exemplifying conflicts from within the walls and with the presence of the titans. It is this strong sense of simultaneous conflict in every aspect of the universe that so creates this parallel to the apocalypse. Bertholdt has effectively made himself the enemy of mankind, which directly puts him at conflict with Eren. This interpersonal conflict between titan shifters adds another dimension to the conflict that is happening because it is only with Eren’s shifting abilities that mankind has any hope for salvation, and Eren cannot stand the idea that his own comrades are murderers. Stanza 40 of  _Völuspá_ makes reference to the idea that “brothers will fight and kill each other” and “cousins will destroy kinship,” and this theme is certainly true for both Bertholdt and Eren. They are both firmly resolute in their own ideologies no matter the consequence, even if that means fighting against humanity itself. Mankind is also at war with the thousands of titans who appear to have no cognitive abilities and exist purely to consume humans. These titans ranging from three to fifteen metres in height, and are the constant and ever looming threat to humanity since they appear in large numbers and have extreme destructive strength. This war with the environment is only intensified by the knowledge that the natural resources that the walls rest on are dwindling, and food crops are dwindling. This conflict with nature causes societal tensions as the general population deals with starvation, as well as overpopulation. Society looks upon the reconnaissance corps as simply a faction that costs their taxes to raise instead of warriors fighting for freedom and survival. The monarchy inside the inner wall has a similar view and is presented as opposition to carrying on reconnaissance missions beyond the walls, the very expeditions which are humanity’s only line of attack and defence. The religious sect of Wallists also holds influence over these missions, and is ultimately detrimental to their research by withholding information about the creation of the walls and the origin of the titans. Tension is created between the reconnaissance troops and every niche of society as they try to fight for humanity’s survival. The entire world of “Shingeki no Kyojin” is stressed due to its isolated nature and compressed timeline, and with the breaking of wall Maria it was truly the beginning of the end. This close reading of the destruction of Ragnarök allows the audience to connect with these conflict on a deeper level, and allows Isayama to create significance through destruction without explicitly drawing comparisons. This parallel also allows the reader to gain insight into important themes in Isayama’s fictional universe, and allows for creative expansion in terms of  interpretation for the ending of his saga. 

      “Shingeki no Kyojin” is ultimately a visual novel steeped in allusion to Nordic and Germanic myth, being geographically located in the perfect environment to create such parallels through societal and physical similarities, even down to the very creation of the walls that protect humanity. The appearance of titans as an antagonistic force against humanity is also an easily drawn parallel, especially with the appearance of humans who can shift into Titans on command and unleash incredible violence like berzerks. Both narratives share themes revolving around self sacrifice, power, and the eventual destruction of the cosmos that is known as Ragnarök. The very fabric of each universe is tearing itself apart in every way imaginable, and it is through these parallels that the audience is able to gain a deeper appreciation for the practice of allusion. These instances of intertextuality create an evolution on narrative, and expose vast opportunities for creativity, and the ability to rework old mythology into a new narrative form. The echoes to older tales that are found in “Shingeki no Kyojin” allow the audience to interpret the work on a deeper level, granting the reader the ability to connect with the text on many levels by providing the opportunity for hermeneutic moments and their subsequent analysis. Isayama’s skilful incorporation of these references into his work demonstrates a strong understanding of both mythology it is based on, but also entails that his work goes beyond simple narrative: proving that “Shingeki no Kyojin” aims to create, not just a strong storyline, but meaning for its audience.

 

* * *

 

** WORKS CITED **

B, Tim. “Giant Sequoia Trees in Germany.” _Monumental Trees._ [ http://www.monumentaltrees.com/en/deu-giantsequoia/](http://www.monumentaltrees.com/en/deu-giantsequoia/). Web. 

Bellows, Henry Adams. _The Poetic Edda._ “ _Hovamol._ ” Stanza 138-163. 1936.

Bullock, Ben. “What is the difference between san, sama, kun and chan?” _sci.lang.japan._ [ http://www.sljfaq.org/afaq/titles.html](http://www.sljfaq.org/afaq/titles.html). Web.

Cheers, Gordon. _Mythologica: A Treasury of World Myths and Legends._ Vancouver: Raincoast Books. 2005.

Cotterell, Arthur. _Norse Mythology: The Myths and Legends of The Nordic Gods_. New York: Lorenz Books. 1999. 

Davidson, H.R. Ellis. _Scandinavian Mythology_. Italy: O.G.A.M. Verona. 1969.   

Dumézil, Georges. _Gods of the Ancient Northmen_. California: University of California Press. 1973.

Editorial Staff. “Half Timber Work.” _Encyclopedia Britannica._ [ http://www.britannica.com/EBchecked/topic/252413/half-timber-work](http://www.britannica.com/EBchecked/topic/252413/half-timber-work). Web.

Isayama, Hajime. “Shingeki no Kyojin.” Kodansha Comics.Vol.1-12 _,_ 2009-2014.   

Lindow, John. _Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs_. California: Oxford. 2001.

_MEDI 100: Medieval Mythology._  2014. Lecture Notes.

R. I. _Chronicles of the Vikings._ Toronto, Canada: University of Toronto Press. 1995.

Sturluson, Snorri and Gottfried Lorenz. _Gylfaginning._ Darmstadt: Wissenschaftliche Buchgesellschaft. 1984.Sturluson, Snorri and Arthur Brodeur. _The Prose Edda._ New York: The American-Scandanavian Foundation. 1916.

**Author's Note:**

> Basically I wrote this paper for one of my university classes on Medieval Mythology... I felt it would be worth posting just for fun. I was originally going to add manga references in, but now I am undecided *may return to it later* 
> 
> Anyway, hope you enjoy and even if you don't agree, maybe it made you think a bit more on the subject :)


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